msmcleod

Doesn't the Backup/Restore Settings feature in preferences work with these interfaces? I don't have these exact ones, but the last time I used them to switch between my RME and Focusrite, it worked fine.

I believe you can load VST3 in SONAR 8 by hosting them Patchwork from Blue Cat Audio. You insert patchwork into your track as a VST2 effect, then load the VST3 within Patchwork itself.

SysEx view is there. You're probably using the Basic workspace - set it to Advanced or None.

yeah, it's just not my controller of choice. The physical footprint for 16 faders is amazing (especially compared to the Mackie MCU, and even more so the HUI which is huge). But I can't get over only having one rotary control, and the rubber transport buttons just aren't as nice as proper mechanical transport buttons. My controller of choice in my office is a modded Yamaha 01X - the mLAN card has been removed, and replaced with a dongle that routes the CS I/O to the MIDI ports at the back. It still works as a digital mixer too - just not as an audio interface. Next to it is a Mackie C4, which I'm so used to I really can't live without!

I may have a FaderPort 16 - but it's boxed up in the attic at the moment.

With all of these tariffs flying around, be careful where you buy stuff. AFAIK Plugin Boutique is based in the South of England (or at least it used to be), so I doubt there'd be any surcharges for EU customers beyond them charging VAT. TC Electronic is owned by Music Tribe (i.e. Behringer) - who are based in Germany, so I doubt there'd be any import/export charges to content with. I guess there could be some new customs charges that have only just kicked in post-brexit. If you're a US customer however, what you don't want to do is buy a US product from a vendor based elsewhere, as you could end up covering the tariff the vendor pays to import the product, then also pay again for it to be imported back into the US. If the vendor has branches / offices in the US, this may not be an issue... but best to check.

I had a slightly dodgy earth in my house for years - it was functional as far as safety was concerned, but caused noise in the studio. I used an online UPS in the studio to cure the issue. They're the most expensive, but have the advantage of always running through the battery and generating their own clean sine wave. Obviously you need one powerful enough to give enough power to all of your equipment. Note there are three types of UPS available: Offline/Standby - is normally off, but kicks in when power is lost Line-Interactive - Similar to offline/standby, but monitors the input, and regulates it/cleans it up/ offers surge protection. Battery power will kick in not only when power is lost, but if the power is deemed to be below or above a certain level. Online - Is always on. Mains is turned into DC, goes through the backup battery, then is converted to AC again from the battery. It's the online one that I got. Since getting the house rewired and earth redone, I've not needed to use it, but it definitely helped at the time.

Not 100% sure about this mixer and how its connected... but it looks like you've got both L&R connected to your stereo out. If you want only your backing track to FOH, only connect the right output to your FOH. If you want both click & backing in the monitor, connect both L&R monitor outputs to your monitor.

I've got a FaderPort 16, and it works seamlessly in both CbB and Sonar using MackieControl. Can you post a screenshot of: 1. Your Control Surfaces tab within Preferences 2. Your Mackie Control panel.

If you don't want the pan to be sent for whatever reason (e.g. maybe you've changed your mind, or you've decided to set it within the synth itself), you can right click on the pan knob and select "Disable Control" from the context menu. This will effectively give a setting of "no value" for the pan and a CC10 won't be sent.

Do you have Spatial Sound or any sound enhancements enabled in Windows? If these are enabled, then they'll be applied when playing through Media Player.

1. Connect the output of the tape track that has SMTPE on it to the input of your SMTPE unit. 2. Connect the MIDI output of your SMPTE unit to the MIDI IN on your MIDI interface. 3. Within Cakewalk/Sonar, go to Preferences->Project/Clock, set Source to SMTPE/MTC - adjust the PPQ/Time Format to match the SMPTE code (if you can't remember, just match it to whatever the SMPTE unit is currently set to). Bear in mind, the SMPTE unit might actually be sending MTC rather than SMPTE - I know my old PPS100 was set to do that - so you might get away with not having to adjust anything. 4. Press Play in Sonar 5. Press Play on the tape machine If you're transferring stuff from tape, then replace step 4 with: 4.1 Connect your tape outputs to audio interface inputs 4.2 Add the required number of audio tracks to match the tape's audio tracks - set the sources to match the audio interface inputs 4.3 Arm the tracks 4.4 Press Rec in Sonar

IIRC - I'm pretty sure CWPA had mono audio to MIDI back in the 90's. I remember being a miffed when it was removed, as sometimes you could "lose" a melody if you hit the wrong key on the keyboard when trying to replicate what was in your head... much easier to just hum it.

All it means is that transient detection information has been stored against your clips. Using AudioSnap is the main reason these would be created, but it isn't the only one. Cakewalk Bundle files do not support saving transients, so it's just warning you that these will not be stored in the bundle. If you've no recollection of editing audio transients, you can ignore this message. Those who have spent hours editing / correcting transients should definitely not ignore this message! Cakewalk Sonar has the new Cakewalk Zip format, which is far smaller and does support transients. If you're concerned about losing them, don't save as a bundle - zip up your project folder instead.

FWIW, I find it useful to have the sync off, and the control surface set to see the console view. Generally I want to see all tracks in the track view, but due to the limit of physical faders, I'll quite often hide tracks in the Console View so I can control only the tracks I'm likely to want to change levels for. This is usually only during tracking, as at mixdown time, I'm pretty much only controlling buses on the control surface.